October 2019 – The Art League

Playful State of Mind: An interview with artist Cristy West

October 22, 2019

“Mark making is central to art; it reaches back into prehistory to the caves of Lascaux, yet at the same time, children do it spontaneously.”

An interview of artist Cristy West, winner of the Best in Show, October Open Exhibit juried by Debbie Millman. Emma Gould of The Art League Gallery asked the questions.

“To get Best in Show is a big honor, and I am delighted. However, let it be known that the piece that won the award was passed over for an earlier show. I’m glad I didn’t give up on it. Thanks to everyone at the Gallery for keeping the shows going—and keeping us all on our toes!!”

How did “Remnants” evolve?

I completed “Remnants” last spring, and I believe there are three or four paintings underneath. I think these earlier layers add a certain element of depth and mystery. But that was far from my intention when I started. The painting just evolved intuitively.

“One of my early teachers at the Corcoran, Mindy Weisel, used to say that the primary qualification of an abstract painter was a tolerance for frustration.”

Can you tell me more about your working methods?

When I work, I get into a state of flux, almost a trance state—very focused. One of my early teachers at the Corcoran, Mindy Weisel, used to say that the primary qualification of an abstract painter was a tolerance for frustration. As I’ve grown older, I think I’ve become a lot more accepting of the ups and downs of the creative process. While working on a painting, I keep searching until something finally clicks, and I also have faith that eventually something will click.

How do you define “mixed media,” and how does that support your work visually?

I am constantly trying out new materials and tools, new techniques. I also use a lot of collage. I love the richness of texture that results from using different materials, and I like to explore the variety of marks that are possible with many drawing implements available in today’s market. Recently I have been exploring oil and cold wax and am excited about some of the effects I can achieve. But I think acrylic is my true medium since the rapid drying time allows me to work quickly and more spontaneously.

Marks seem like an essential element in this painting. What does mark-making mean to you?

I’m fascinated by marks—runes and petroglyphs, scripts from other languages, scribblings of children. All of these are inspiring. Paul Klee said, “to draw is to write,” and, in this sense, drawing can be seen as the speech of art. Mark making is central to art; it reaches back into prehistory to the caves of Lascaux, yet at the same time, children do it spontaneously.

Kids are so confident in whatever composition they are making. It’s incredible to see the lack of inhibition that they have with the materials they use. Something isn’t blocking their creating.

Exactly! To get into that child-like, playful state of mind—that is the trick! To loosen up, I often listen to music, especially jazz. Once I get going, the process begins to take over.

You’ve mentioned that you used to be a writer. Has that influenced your approach to painting?

I used to write—mainly short stories—and I also taught creative writing. I am also an avid journal-keeper. I think there is a universal impulse to put feelings into language, but sometimes words aren’t enough. Marks can have an authority that words often lack. For me, too, the habit of writing longhand may have translated into a more calligraphic quality in my paintings.

I find it compelling that you rework a lot of your old paintings.

Yes, I do rework a lot of my old paintings. But, I have also discovered that I don’t have to go through the frustration of making five failed paintings. Now, I simply lay down several base layers, and after that, it’s a question of responding to what is there—add, subtract, cover it up, bring it out again. It’s like a dance.

“…it has become instinctive to balance spontaneity and structure. But if I impose too much structure, then the painting goes dead.”

Do you have any favorite artists?

More than I can name! Recently I have been looking again at the work of Cy Twombly. His work is far more complex than it might seem at first. Likewise, in the case of “Remnants,” what might seem like random doodles have been arranged so that certain motifs—circles and triangles—are repeated and offset by that one lone rectangle. But all this just happened spontaneously.

The mark-making in your piece reflects a certain quality of struggle, but the elements don’t feel violent or heavy-handed. It feels similar to music, more soothing, thought-out, and composed, but keeping that playfulness in tune.

Thanks! I guess it has become instinctive to balance spontaneity and structure. But if I impose too much structure, then the painting goes dead.

So, where do you find your inspiration?

Gosh, so many things! Poetry, music, landscape, work by other artists, travels, everyday life. But most of all, I am inspired by the process of working. I love the challenge of abstraction. And I’m always learning new things—about how to paint better and also about myself. It’s really hard! More than anything else, abstract painting is, for me, an exercise in humility.

Artist Opportunities #485

October 21, 2019

The Wild Wompus by Chris Bonnell

Every week, we gather a variety of artist opportunities from the DC area and beyond. Find one below and apply today — good luck! Click here for recent opportunities posts, and submit your opportunity listing here.

New:

40 Under 40: Young Artist National Showcase

Deadline: October 20. The Maryland Federation of Art and Maryland Hall for the Creative Arts seek entries for a juried art exhibition, January 4 – February 29 at the Chaney Gallery at Maryland Hall for the Creative Arts in Annapolis, MD. $500 in awards. Juror: Jose Ruiz. Celebrating 40 years of arts experiences and education at Maryland Hall, we are dedicating an exhibit to showcase 40 talented artists, 40 years of age or under, from around the country. Artists are invited to enter any 2-D or 3-D work. $40 for one or two entries and $5 each for up to four additional entries. More info (PDF)., go to: https://mdfedart.com/wp4/wp-content/uploads/2019/09/40-under-40-prospectus-final-1.pdf Contact: [email protected] or call 410-268-4566. Visit: https://mdfedart.com/portfolio/40-under-40-young-artist-national-showcase-4/

Stanley Bleifeld Memorial Grant: National Sculpture Society

Deadline: October 28. The Stanley Bleifeld Memorial Grant is a prize of $5,000 sponsored by the National Sculpture Society. It is awarded annually to a sculptor who has demonstrated outstanding ability as a sculptor and who has created a body of work inspired by nature which includes works of sculpture in bas-relief and in the round. For more information visit the National Sculpture website.

Alex J. Ettl Grant: National Sculpture Society

Deadline: October 28. The Alex J. Ettl Grant is a prize of $5,000 sponsored by the National Sculpture Society. It is awarded annually to a figurative or realist sculptor who has demonstrated a commitment to sculpting and outstanding ability in his or her body of work. For more information visit the National Sculpture website.

Marilyn Newmark Memorial Grant: National Sculpture Society

The Marilyn Newmark Memorial Grant is a $5,000 prize for a sculptor, specializing in animal sculpture, who has demonstrated a commitment to sculpting and outstanding ability in his or her body of work. For more information visit the National Sculpture website.

Focal Point: Nationally Juried Exhibition

Deadline: November 14. The Maryland Federation of Art announces a call to artists for a juried art exhibition, January 23 – February 22 at the Maryland Federation of Art Circle Gallery in Annapolis, MD. Cash awards total $1,000. Juror: Margaret Adams. Computer software has forever expanded ways for artists to capture and produce their work. MFA celebrates this exhibition by examining the artistic use of all digital media. Eligible entries may be either 2-D or 3-D image-based work that is created and/or produced through the use of software (whether purchased or artist created) and includes, but is not limited to digitally produced: photography, graphic design, painting, video and non-film projection. Works previously exhibited in a juried show at Circle Gallery are not eligible. The maximum size of entry, including edges of frame/work, cannot exceed 72″ in any direction. Works must be priced for sale or marked POR (price on request). $40 for one or two entries and $5 each for up to four additional entries. More info., visit: https://mdfedart.com/wp4/wp-content/uploads/2019/09/FocalPointProspWebFINAL2020.pdf Contact: [email protected] or call 410-268-4566. Website: https://mdfedart.com/portfolio/79/

9th Annual National Juried Exhibition

Deadline: December 1. Marshall University’s School of Art & Design is pleased to invite artists working in any media to submit entries. Accepted works will be displayed in Marshall University’s Charles W. and Norma C. Carroll Gallery in the Visual Arts Center located in downtown Huntington, WV. For more details and to submit your work for consideration, click the link below and follow the directions. http://www.marshall.edu/art/vac/9th-annual-national-juried-exhibition/ E-mail any questions to [email protected]
__________________________________________________

Re-runs: These announcements have been posted here before, but it’s not too late to enter!

Capricious Photo Award

Deadline: November 1. Applications are open for the Capricious Photo Award, which gives one photographer financial and editorial support to complete a body of work. The application deadline is November 1. Visit the Capricious website to learn more.

Stanley Bleifeld Memorial Grant: National Sculpture Society

Deadline: November 4. The Stanley Bleifeld Memorial Grant is a prize of $5,000 sponsored by the National Sculpture Society. It is awarded annually to a sculptor who has demonstrated outstanding ability as a sculptor and who has created a body of work inspired by nature which includes works of sculpture in bas-relief and in the round. For more information visit the National Sculpture website.

__________________________________________________

Ongoing: These opportunities have rolling deadlines.

The Creativity Grant Program State of Maryland (MD)

Deadline: Rolling. The purpose of the Creativity Grant Program is to strengthen the vitality and sustainability of artists and small organizations to maintain a strong and stable arts infrastructure in the State of Maryland. The Creativity Grant also provides opportunities to serve the growing needs of relevant arts projects and collaborations within Maryland communities. For more information regarding eligibility and funding timelines, please review the Creativity Grants Guidelines. For more information about the program, and to apply visit the Creativity Grant Program State of Maryland website.

Artist/Writers: Cover Art for Academic Medicine

Deadline: Rolling. Submit original works of art inspired by, but not necessarily representative of, an academic medicine experience from any perspective: caregiver, researcher, teacher, learner, or patient (for example, learning how to be a physician or scientist, caring for patients, exploring research questions, making a new discovery, being a research participant, teaching, or being cared for in a teaching hospital). The journal welcomes photography, sculpture, painting, textile work, and other visual media. Images may be cropped or resized to fit into the allotted cover space. Artists must also submit a related Cover Art essay as a narrative companion to the artwork, to explain the connection between the work and the “academic medicine experience.” The related narrative should be 250 to 600 words and is subject to editing. To apply for this opportunity, and to learn more, visit the Academic Medicine website.

The Awesome Foundation Accepting Applications for Art Projects

Deadline: Open. The Awesome Foundation for the Arts and Sciences is a worldwide network of people devoted to forwarding the interest of “awesomeness in the universe.” Established in 2009, the foundation distributes $1,000 grants on a monthly basis to projects and their creators. The money is pooled from ten or more self-organizing “micro-trustees.” The chapters are autonomous and organized by the trustees around geographic areas or topics of interest. Apply on the Awesome Foundation website.

Call for Artists: Maryland Art Place Seeks Proposals for Rotating Exhibition Partnership with Baltimore’s Hotel Indigo (MD)

Deadline: rolling. Maryland Art Place (MAP), in partnership with Hotel Indigo is pleased to announce an open ‘Call to Artists’. As an extension of MAP’s annual IMPACT public art partnership projects, MAP is working with Hotel Indigo to offer rotating exhibitions in Hotel indigo’s library and Poets Modern Cocktails and Eats. This opportunity is available to visual artists living or working in Maryland. Maryland Art Place will curate four exhibitions a year based on submissions entered through a rolling basis. Guidelines and information here.

Peripheral ARTeries – Biennial Contemporary Art Publication

Deadline: Rolling. Peripheral ARTeries is looking for artists to be featured in the new special Biennial Edition of their art publication, that comes to its 10th edition. This opportunity is great for both established and early career artists who need a boost to their artist portfolio. The 10th edition will once again explore and show current trends and tendencies in Contemporary Art: Peripheral ARTeries cultivates a spirit of openness through a unique collaborative and participatory approach.Each artist may submit a maximum of three works or projects made in any technique: painting, drawing, video art, experimental cinema, fine art photography, experimental media, mixed media, installations, public art, performance. The call is open to all proposed kind of art and media capable of challenging the viewers’ traditional perspective on art itself. To submit, visit thePeripheral ARTeries website.

Exhibit at Hotel Indigo (VA)

Artists works will displayed in the hotel’s gallery (220 S Union St, Old Town Alexandria) for a six-month period. Two-dimensional, framed works only. Artists will install the work using the hotel’s mounting hardware. Labels will be provided by the hotel. All sales handled by artist, no commission. Preference for local or locally influenced selections but not required. The space measures approximately 7’10” by 8’3.″ If interested, contact Kate Ellis, General Manager, [email protected].

The New Project Studio – Ongoing Opportunity (VA)

Ongoing. Located in Studio 8, the New Project Studio is a community-focused arts incubator space that offers a short-term location to test new program ideas, spotlight underrepresented voices, and enhance community engagement. Projects rotate on a regular basis. For more information, clickhere.

Public Arts Grants & Opportunities (VA)

Ongoing. The City of Alexandria’s Office of the Arts provides grants for nonprofit arts organizations as well as individual artists. See all current opportunities and online applications here.

Residency: Maryland

Deadline: ongoing. Montgomery College, Rockville and Germantown Art Department is seeking proposals for its Artist-in-Residence Program, encouraging proposals that cultivate collaborative work between artists and students.

Looking for artists: Foundry Gallery (DC)

Deadline: ongoing. Foundry Gallery is seeking a few artists in the greater Washington, DC area. If interested in applying for membership please send up to five images (jpg attachments) and an email letter to: [email protected]. The oldest cooperative in Washington, the gallery holds monthly solo and members’ group shows at its beautiful space north of Shaw near the 9:30 Club.

Looking for artists: Printmakers (DC)

Deadline: ongoing. Washington Printmakers Gallery is seeking artist members specializing in printmaking, photography and book arts. An active cooperative for over 30 years, the gallery holds monthly solo and members’ group shows in its lovely space in upper Georgetown. Distant and shared memberships are available. If interested in applying for membership please email [email protected].

“Honesty without compassion is worth nothing”: an Interview with juror Will Varner

October 17, 2019

<em>Urban Legend</em> by Will Varner

What is your definition of illustration? What does it encompass?

For me, illustration should be in service of something—such as helping an article, a story, or narrative become something more. Illustration is different than fine art because it’s helping something else, a world, or even advertising. Illustration is more about completing a function, and helping something shine and be better.

For the show entries, I was looking for something that could work to tell a story, and draw attention. Illustration shouldn’t be mysterious in its meaning; the story or feeling should be accessible in its visuals.

What’s the best advice you ever had about how to be more creative?

I had a professor in undergrad, one thing he told me was to think about what you want to make, and make it in a different way with different materials and tools. Even if I’m going to be drawing, I’m always trying to introduce different methods. I’m working with motion graphics right now, and even if it doesn’t make it into my illustration work now, the effect and energy of working with a different technique shines through I think. Especially with an inspiration block, trying something new can shake something loose.

What is the quality you like most in a person/artist?

Honesty—to be able to say something really honest. Oh! And compassion. Honesty without compassion is worth nothing.

When did you first realize that creating artwork was how you wanted to communicate ideas?

I realized when I was pretty young, my siblings, cousins, and I made comic books for each other. We told stories to each other that way through images. I loved that, and the process of that. I felt really good if they liked my stories and drawings.

Who is your hero/heroine of fiction?

Ashitaka of Princess Mononoke, a Studio Ghibli film. The main character is the nicest guy who tries to help everyone, and I really admire that.

And just for fun…

What is your idea of perfect happiness?

I don’t believe that there’s any such thing as a “perfect happiness.” Although I think there can be great happiness and happy times for me are when I’m doing my creative work.

What is your most treasured possession?

I think this is going to sound self-absorbed, but my sketchbooks. They’re my life, and I’ve always tried to get out parts of myself and they’re in my sketchbooks.

Which talent would you most like to have?

I wish I played an instrument, like the piano.

Will Varner juried The Art League’s special exhibit Illustration.

Will Varner is an experienced art director, illustrator and storyteller. He was the in-house illustration director at BuzzFeed for over four years and led a team dedicated to exploring the potential of illustrated content on all of BuzzFeed’s many platforms. While there he was one of the founding members and editors of BuzzFeed Comics which has over one million followers on Facebook and nearly one million followers on Instagram.

He earned an MFA in Illustration from The School of Visual Arts in New York City, NY and a BFA in Painting from Brigham Young University in Provo, UT.

He is currently an adjunct professor at SVA and has done freelance work for clients such as Adobe, Apple, Bloomberg Business Week, Tennis Magazine, Playboy, Nylon Guys, Cincinnati News, L Magazine, TimeOut New York, Movado Watches, Colgate-Palmolive, Tonka Toys, Basha Accessories, and more.